Van Dyck | Page 5

(p. 145).
V. LIST OF CONTEMPORARY PAINTERS.
Flemish:--

Franz Snyders, 1579-1657. Peter Paul Rubens, 1577-1640. Gaspard de
Craeyer, 1582-1669. Jacob Jordaens, 1594-1678. Justus Sustermans,
1597-1681. David Teniers, 1610-1690.
Spanish:--
Pacheco, 1571-1654. Herrera, 1576-1656. Zurbaran, 1598-1662.
Velasquez, 1599-1660. Cano, 1601-1676. Murillo, 1618-1682.
French:--
Simon Vouet, 1582-1641. Poussin, 1594-1655.
Eustache Le Sueur, 1617-1655. Charles Le Brun, 1619-1690.
Italian:--
Guido Reni, 1575-1642. Francesco Albani, 1578-1660. Domenichino,
1581-1641. Guercino, 1591-1666. Sassoferrato, 1605-1685. Carlo
Dolci, 1616-1686.
Dutch:--
Franz Hals, 1584-1666. Gerard Honthorst, 1590-1656. Jan van Goypen,
1596-1656. Albert Cuyp, 1605-1691. Rembrandt, 1606-1669. Jan
Lievens, 1607-after 1672. Gerard Terburg, 1608-1681. Salomon
Koning, 1609-1668. Adrian van Ostade, 1610-1685.
VI. NOTABLE ENGLISH PERSONS OF THE REIGN OF CHARLES
I.
WRITERS:--
Ben Jonson, 1573 or 1574-1637. Robert Herrick, 1591-1674. George
Herbert, 1593-1632. Edmund Waller, 1605 or 1606-1687. Sir William
Killigrew, 1605-1693. Sir John Suckling, 1608 or 1609-1641 or 1642.
John Milton, 1608-1674. Thomas Killigrew, 1611-1682. John Evelyn,
1620-1706 (author of "Memoirs").

Architect:--
Inigo Jones, 1572-1653.
Royalists:--
Archbishop Laud, 1573-1644/5. Thomas Howard, Earl of Arundel,
1586-1646. George Villiers, first Duke of Buckingham, 1592-1628.
Thomas Wentworth, Earl of Strafford, 1593-1641.
Parliamentarians:--
John Pym, 1584-1643. Sir John Eliot, 1592-1632. John Hampden,
1594-1643. Oliver Cromwell, 1599-1658. Lord Thomas Fairfax, 1611
or 1612-1671.

I
PORTRAIT OF ANNA WAKE
The city of Antwerp was at one time famous for its commercial and
industrial interests, and it was besides an important centre of art. Here
in the seventeenth century lived the two foremost Flemish painters,
Peter Paul Rubens, and Anthony Van Dyck. The Flemish industries had
chiefly to do with the making of beautiful things. Among them were
tapestries in rich designs and many colors, used for wall hangings. The
Flemish weavers were also skilled in making fabrics of silk and velvet.
Most famous of all were their laces, patiently wrought by hand, on
pillows, and unrivalled throughout the world for delicacy of
workmanship. Glass and porcelain were also among their industrial
products. In Antwerp, too, was the printing establishment of Plantin,
from which issued many learned works in French and Latin.
Among refined people like these, who not only loved beautiful things
but could afford to buy them, the art of painting was highly esteemed.
There was every encouragement for a young artist to pursue this calling.
Rubens was already a great painter when Van Dyck began his art

studies, and the older man gave the younger much helpful advice. At
his friend's suggestion Van Dyck travelled several years in Italy, where
he was inspired by the works of the Italian masters of the preceding
century. Returning at length to his native city, he set up a studio of his
own, and soon became a favorite portrait painter among the rich and
fashionable classes. Not a few of his sitters were foreign sojourners in
the Netherlands, especially the English. The lady of our illustration is
quite plainly of this nationality, though she is dressed according to the
Flemish modes.
It appears that an English merchant named Wake was established in
Antwerp at this time, and it is supposed that this may be his daughter.
There are also reasons for connecting the portrait with one of a certain
English baronet named Sheffield, who was likewise in Belgium in this
period. Miss Anna Wake, we may conclude, had married into the
Sheffield family when this portrait was painted. These names, however,
are mere guesses, and, even if they were verified, would tell us no more
of the lady's story than we can gather from the picture. Her life was
probably not of the eventful kind which passes into history. The
luxuries of her surroundings we may judge from her rich dress and
jewels; the sweetness of her character is written in her face.
She shows us perhaps more of her inner life than she intends. Her fine
reserve would naturally shrink from any sort of familiarity. Yet as she
stands quietly before the portrait painter, left, as it were, to the solitude
of her own thoughts, her spirit seems to look out of the candid eyes.
[Illustration: PORTRAIT OF ANNA WAKE Royal Gallery, The
Hague]
Her dignity and self-possession make her seem older than the
twenty-two years with which the inscription on the portrait credits her.
But the face is that of one who has just passed from maidenhood to
young womanhood. Life lies before her, and with sweet seriousness she
builds her air castles of the future. Thus far she has been carefully
guarded from the evil of the world, and her heart is as pure as that of
"the lily maid of Astolat." For social triumphs she would care nothing,
though her beauty could not fail to draw an admiring throng about her.

Vanity and coquetry are altogether foreign to her nature. She is, rather,
of a poetic and dreamy temperament. Perhaps it is the fragile quality of